This was a collaborative piece at the Yerba Buena Center for the Arts in San Francisco, in a group show curated by Katya Min

Living virtually has become a norm in the West. Social engagement can be extremely chaotic and creates huge gaps within our interactions. In times of constantly being online, how much do we remain connected to our inner selves and to our roots? What kind of balance is there between the private and the social, and what is defined as such? The exposure created by social media often blurs the separation between private and public. But what are we without these connections and how important it is to stay engaged and responsive to what is going on in the outside world? Wishing to remain connected, we risk missing the physical response to life: smell, see, listen, taste, feel, experience - we only do through so many filters. When this happens, it becomes a post: like me, share me, re-post me, re-tweet me. If we are always projecting ourselves in such a way, what remains to characterize the individual and how do we maintain the wholeness of our relationships to each other and the world around us? Mind the Void creates a complex system of wires and cables that evokes the visceral experience of physicality: a broken arm that wants to keep touching, a torn artery, a creature that has exposed its guts. It also suggests the chaotic nature of the constant networking in our emerging digital culture. As a collaborative project, manifested in a mixed media sound performance, between artists Dimitra Skandali, David Janesko, and Heejin Yang, Mind the Void references a link between voices and assumes the role of an antenna that invites its listeners to absorb its signals and send them back. The sculpture acts as a connection line between a series of hacked portable AM/FM radios modulated and distorted by oscillators. The sound is a combination of the local radio stations, radio signals generated by the electronics and the absorption effects of the people present in the room and touching the sculpture. In the performance, Heejin improvises a score of live noise to create a reverberating force that gets one lost in the echoes of invisible itineraries to the outer world. The performance addresses a moment when the countless struggle to establish a sense of connectedness eventually transforms into a monster that overwhelms the physicality of life. (Kayta Min, Curator of YBCA public programs, 2014)

Me playing the radios and synths under Dimitra's piece

touching the metal wires and nets changes the static played by the radios